Tag Archives: novel

Creative Writing — Art and Craft

Stavros Halvatzis on Creative writing — On creative writing.

Those who have taught creative writing, specifically the novel or short story, will remember being asked, at some time or another, that pertinent but most difficult of all questions: What constitutes good writing?

The question is pertinent because that’s what teachers of the craft purport to teach. It is difficult because people have been trying to provide a definitive answer to it since first picking up chisels and quills.

Here’s my take.

The First Layer: Spirit, Ethos

I like to separate the craft into three areas. The first concerns learning about the spirit or ethos of the times, and our view of it.

It concerns sharpening our powers of observation, being aware of contemporary ideas, ideals, and issues, bringing compassion to our social critiques, and learning to address old themes in new ways while acknowledging the value of the old in the new.

These insights stem from our level of maturity. They can not be hurried.

The Second Layer: Story Structure

The second area concerns the structure of stories.

“A study of creative writing that lacks awareness of the layers that make up the craft is like a rudderless ship loaded with treasure but destined to meander endlessly at sea.”

Does your tale have a beginning, middle, and end? Are the turning points, pinches, midpoint, climax, resolution, and so on, crafted in a way that encourages interest, suspense, and surprise? If not your story may lack a specific direction.

The Third Layer: Words and Sentences

The third layer has to do with mastering the craft at the micro level. Are we using vocabulary and figures of speech appropriate to our subject? Are we creating powerful textures, pictures and sounds with our words—using all five senses to do so?

Words with an Anglo-Saxon origin, for example, are grittier and more tactile, depending on the context, than their Latin counterparts—so, ‘gut’ instead of ‘stomach’, and so on. Are we using short snappy sentences or long and mellifluous ones? All of this affects how the reader experiences our story.

In my opinion, these three layers make up the craft of writing. Together they give rise to the individual ‘voice’ of the writer. Incorporating this approach when writing a new novel or screenplay increases its chances of success.

Summary

Excellence in creative writing involves mastering the three layers rooted in the micro and macro levels of the craft. Together they give rise to the ‘voice’ of the author.

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New Story Ideas — how to find them

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Jurassic world is a new story idea from a great concept — Jurassic World is the latest blockbuster stemming from what was a new story idea rooted in genetic cloning.

New Story Techniques

How does one generate new and exciting ideas for one’s stories? Here are some suggestions:

Use personal experience to spark new and authentic story ideas. Personal experience helps to add verisimilitude and uniqueness to any piece of creative writing because it is based on first-hand knowledge of real-life situations.

Keep a file of blog, newspaper and magazine articles and stories; also, short notes on television documentaries and programs that have caught your eye. Use them to kick-start your thinking on a related subject.

Use a notebook or digital device to document interesting bits of conversation, behaviour, dreams, personal encounters.

Explore new ideas by brainstorming a subject with friends. Free-associate root aspects of that subject by introducing nouns and verbs not usually associated with it. Note the new relationships that emerge. Those may spark new ways of looking at old ideas.

Ask that powerful idea-generating question: ’What if…’. Combine it with an unexpected or opposing idea. If, for example, your subject is about genetic cloning, you could start by asking: What if the DNA of prehistoric animals was found trapped in millions-of-years-old resin and used to bring Jurassic era animals back to life?

“New story ideas are all around us. We just have to know how to spot them.”

Mind-map a subject or idea by writing down its core meaning in the middle of a blank page or screen. Create a series of related ideas in bubbles around that core idea and draw links from one to the other. Link unrelated ideas together and see what that sparks.
When writing a scene, make it multilayered by filtering it through all five of your senses: sight, smell, hearing, taste, touch. Note the dominate sense operating within the scene, then replay it in your imagination, using a different sense. Note how it changes your approach to writing the scene.

Summary

There are many ways to generate new story ideas. Personal experience, keeping a file, brainstorming with others and asking the what-if question, are just some of them.

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Planning your story

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Lagos Egri was a big believer in story planning — The famous teacher, Lagos Egri, was a great believer in story planning

Whether you’re a pantser or a pedantic outliner (I’m somewhat of an in-betweener), I believe that having an overall snapshot of your story—properly planning your tale—raises its quality and lessens the time it takes to write it.

Here is the process I followed in planning my post-apocalyptic novel, The Land Below.

Story Planning

I started by writing down my story’s premise. The story premise is a sentence, sometimes referred to as the logline by screenwriters, which captures the essence of your story—what is unique, but believable about it. It highlights its major twists and turns and ties the inner and outer journeys together, in part, through the knot of the moral premise, or theme.

I next tackled the outer journey. This is the what and how of your story. It defines the goal the protagonist strives to achieve by the end of the story.

The goal, determined at the first turning point, is then kicked around by the midpoint and the second turning point, and is attained, or not, at the end of the final, must-have confrontation with the antagonist. Here I ensured that I had three or four major incidents in mind, including the inciting incident.

The inner journey, by contrast, is why the outer journey happens the way it does. It tries to explain the protagonist’s mental and emotional states and the decisions he takes that lead to the actions at the level of the outer journey.

In planing The Land Below, I made sure I knew who the main characters of my story would be. Each character represents a point of view and drives the plot forward.

The inner journey also shows how and why the character changes during the story. It is a blow by blow explanation of, at the very least, the turning points and the midpoint. This forces the writer to consider the reasons why the protagonist acts in the way that he does. I always ensure that I have written a paragraph or two on the inner journey prior to starting any story.

In the words of Lagos Egri, “The ending proves the theme.” Is your protagonist a good guy who manages to overcome the antagonist and save the world and win the heart of the girl he loves? If so, your theme may well be: Good guys carry the day. I always know the theme of my story before I begin to write it.

A protagonist? Certainly. An antagonist? Check. A love interest? Yes. A mentor? A sidekick? I think of my characters in terms of the function they have to perform in the overall story argument. The details, the flesh and bone stuff, I build from a series of traits and incidents as I went along.

The Land Below went on to win several prizes as a result. You can download a free sample from the novel on my Amazon page.

Summary

Planning a great story premise, the outer and inner journeys, the theme and ending, and cast of characters, are important elements to consider before writing your story.

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The Anatomy of Character Motivation

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Much has been written about the importance of authentic character motivation and development in stories, and rightly so: Engaging and convincing characters are central to storytelling.

The reader or audience needs to know, at least implicitly, what motivates the action. Readers and audiences need to know and understand precisely why it is that a character acts in the way that he or she does. Outer actions or events are convincing only if they are a fitting response flowing from personality and circumstance.

In previous posts I’ve talked about the importance to a story of the inner and outer journeys of a character. If the outer journey describes the external movement of the tale (the “what”) the inner journey explains the inner motivation of the characters who engage in it (the “why”).

Although the two seem different, they are two sides of the same coin. They entail each other. Characters are made manifest through their an inner and outer dimension.

Outer motivation operates at the level of the external goal. Here, a series of external events elicit actions from your characters. In the movie, Speed, for example, Officer Jack Traven (Keanu Reeves) has to keep the bus moving at a certain speed to ensure that a bomb inside it doesn’t go off.

”A story cannot stand without convincing character motivation.”

The reason why someone would risk one’s life to try and prevent this from happening, however, goes beyond the external—one’s job. It speaks to one’s moral makeup, compassion, and commitment to others, and perhaps to one’s need for excitement. It cuts to the core of Jack Traven’s character.

Deep Character Motivation Questionnaire

In nailing down your character’s motivation, ask yourself the following questions:

1.What is your character’s outer goal?
2. What is your character’s inner motivation (conscious or unconscious) for pursuing this goal?
3. What is your character willing to do/sacrifice to achieve this goal?
4. How does the goal change during the story, and how does this affect your character?
5. Is what is at stake for the character the highest it can be? (Higher stakes make for better stories).

Although these are by no means the only questions to be asked about character, they are a good way of sketching in the overall shape of the character arc. They also draw attention to the “what” (outer) and “why” (inner) aspects of your character’s actions—a requirement of any good story.

Summary

Authentic character motivation is an essential part of storytelling. It helps explain why the character acts in the way that he or she does.

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Coincidence in Stories

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Coincidence in Christmas in the film July — Coincidence is used adroitly in Preston Sturges’s 1940 comedy film.

Coincidence and how to use it effectively in stories.

Can a story contain a convenient coincidence without being deemed lazy and weak? After all, Charles Dickens’s work abounds with such narrative devices. I believe the answer is yes, but only if it is limited to one per story and is carefully woven into the structure of the tale.

Although life is riddled with what appears to be magnificent coincidences—the meeting of one’s future spouse by chance, the winning of a grand prize, the procurement of a lucrative job based on an impromptu internet search—stories are a different sort of animal.

In a story, the reader or audience expects material, especially coincidence, to be adroitly planned and crafted. Casual, haphazard coincidences are viewed for what they are: lazy writing.

California University’s (Los Angeles) screenwriting graduate program chairman, Professor Richard Walter, too, is of the opinion that coincidence can work if the writer makes it important enough—such as having it launch or end the story, or form part of a main structural event, such as the inciting incident or turning point.

In Preston Sturges’s Christmas in July, for example, well-intentioned pals fool a friend into believing that he has won a contest. In the end, it turns out that he actually has won the contest. Why does such a coincidence work? Partly because it is the only one in the film, and partly because it spins on a deliciously crafted irony.

In The China Syndrome, Jane Fonda and cameraman Michael Douglas, happen to be filming a story at a nuclear station. Something malfunctions at the plant and they record the incident. Here the coincidence is not offensive.

Imagine, however, if, in seeking to add twists and turns to the tale, the writer had introduced a scene in which the footage was lost or destroyed. The crew then returned to shoot more material, when, lo and behold, another nuclear mishap occurred! Audiences would be outraged. What worked the first time around would not work again because such a coincidence would be unimaginative and repetitive.

Summary

A single coincidence works best early or late in a story, runs on irony or surprise, and forms part of a major structural event such as the inciting incident or the first or second turning point.

Story Questions: What are they?

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Story questions with William Goldman — William Goldman was at pains to ask the right story questions prior to writing his novels and screenplays.

Asking the right story questions: In his book, Screenwriting, R. G. Frensham quotes William Goldman as saying: “Movies are about story: is it well told, is it interesting? If it isn’t, it doesn’t matter how talented the rest of it is.” This is also true of the novel as well as the stage play.

So, how do you give yourself the best chance of writing an interesting, well-executed story? This post offers some suggestions:

Having chosen your story idea, you should begin to implement it by going from the general (idea) to the specific (individual characters and events). Here are a number of questions intended to help you clarify, expand, and tell your story in an effective way. Write a paragraph in answer to each one.

Nine story questions that will help you write a better story:

1. Why do I want to write this story?

2. Who do I think will want to watch/read it?

3. What is it about?

4. Who is it about?

5. Why is it about this character rather than some other?

6. What is the importance of background or setting?

7. What is the most fitting genre for the story?

8. What is the moral of the story?

9. What is the main theme of the story?

In answering these questions you are preparing the soil for planting and harvesting. It gives you the time you need to probe your own motivation for writing the story and forces you to think about its deeper structures.

Summary

Answering a number of pertinent story questions prior to writing your story helps you to explore the elements, structures, and motivations that are necessary in telling a tale that is interesting and well-executed.

How Long to Write Each Day?

When I write a new novel or novella, I generally won’t stop working unless I complete the chapter I’m working on. The chapters of my novels tend to be short, so the task isn’t that daunting.

Having thought about the forthcoming chapter the previous day—the story beats that have to be struck and the character development that needs to occur—I keep to the task until that last sentence is in place. I end my chapters with a revelation or hook that creates expectation in reader, and this guides my thinking the following day; it makes the process easier — for me.

This might not be the case for others.

A fellow writer, and winner of several writing awards — no slouch in the craft of writing— told me that he often stops writing before completing the scene he’s working on, whether it’s giving him problems or not. He finds that tackling the material the following day brings fresh insight to his writing. I suspect this is because he is more a pantser than a plotter, but the point is well taken. One shoe size does not fit all. There are, indeed, different strokes for different folks.

It’s helpful to keep this in mind as we pour over the voluminous suggestions of experts. Some nuggets of advice are more suited to our particular personalities and circumstances than others. We need to decide which to keep and which to throw away.

After all, how long is a piece of string, anyway?

Summary

Study all the advice on how to write in general, including on how long to write each day, but use only what’s best suited to you.

The Role of the Archetype in Stories

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Archetype and Story — How to work with an Archetype

In their book, Dramatica, Melanie Anne Phillips and Chris Huntley present a system for crafting stories, which, although somewhat counterintuitive, brims over with important advise—especially with regards how to work with the archetype. Here is a look at their archetypal characters, some of whom vary in naming convention from those put forward by the likes of Joseph Campbell and Christian Vogler.

The Protagonist (hero) and Antagonist, whom we recognise from other writers on the subject, form the first pair. The function of the protagonist is to pursue the goal identified towards the end of the first act and, hence, drive the story forward. The function of the antagonist is to try and stop him at all costs.

The next pair is Reason and Emotion. Reason is calm and collected. His decisions and actions are based solely on logic. Star Trek’s Spock is a typical example of this archetype. Bones, the ship’s doctor, on the other hand, wears his heart on his sleeve. Although a medical man, his opinions and actions are deeply emotional. He presents the emotional dimension of the moral premise.

The Sidekick and Skeptic represent the conflict between confidence and doubt in the story. The sidekick is the faithful supporter of the protagonist, although he may attach himself to the antagonist since his function is to show faithful support of a leading character. The skeptic on the other hand is the disbelieving opposer, lacking the faith of the sidekick. His function in the story is to foreshadow the possibility of failure.

The Guardian and Contagonist form the last pair of archetypal characters. The job of the guardian is that of a teacher and protector. He represents conscience in the story. Gandalf is such a character in Lord of the Rings. He helps the protagonist stay on the path to achieve success. By contrast, the contagonist’s function is to hinder the protagonist and lure him away from success. He is not to be confused with the antagonist since his function is to deflect and not to kill or stop the opposing character. George Lucas’s (Star Wars) Jabba the Hut is such a character. As with the sidekick, the contagonist may attach himself to the protagonist.

As a group, the archetypal characters perform essential functions within a story. Because they can be grouped in different ways, versatility can be added to their relationships.

Their usefulness becomes apparent when editing your manuscript, especially in sagas such as Star Wars and Lord of the Rings.

Does your story ‘feel’ wrong?

Do your characters drift?

Identity the function of each character archetype to see if it is functioning correctly in your story.

Of course, the task becomes more complex when the archetypes are mixed to create more complex and realistic characters, but even then, you may be able to pin-point their essential combinations and, therefore, work to improve their shared functions—but that is the subject of another article.

Summary

Understanding archetypes and their function in your story will assist you in troubleshooting loose and imprecise aspects of your tale.

Hollywood Story Structure

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A hollywood story: I’m a big fan of story structure, especially the structure of stories intended for a commercial audience, and nobody does commercial better (or worse – when it misfires) than Hollywood.

As I have noted before, when thinking about a commercial story, I sometimes lay out the skeleton of a tale before commencing the writing itself. At other times I have the structure tucked away in my mind, so that I am only subliminally aware of it. Yet, its presence, in some magical way, guides my hand.

But what is story structure anyway? And how should one go about learning its secrets?

There are many books and articles written on the subject, including many on this site, drawn from a wide range of respected sources. One can hone in on the details, and study the workings of the inciting incident, the first and second pinch, the first and second turning point, the midpoint, the climax, and the resolution, and certainly, one would be more enlightened for it.

But sometimes, I prefer to talk about structure, especially to those who are just embarking on their writing journey, in a more accessible, common sense way.

The Hollywood Structure in a Nutshell

I have come across many descriptions that capture the essence of a good conventional tale, (I sometimes refer to such a story as a Hollywood story), but here, for its brevity and simplicity, is one of my favorites. I quote from Scott Meredith’s book, Writing to Sell:

“A sympathetic lead character finds himself in trouble of some kind and makes active efforts to get himself out of it. Each effort, however, merely gets him deeper into his trouble, and each new obstacle in his path is larger than the last. Finally, when things look blackest and it seems certain the lead character is finished, he manages to get out of his trouble through his own efforts, intelligence, or ingenuity.”

Much can be learnt by thinking carefully about several key words in this passage: sympathetic lead, trouble, active efforts, deeper into his troubles, larger than the last, blackest, finished, out of trouble though his own efforts, intelligence, or ingenuity. Each contains important kernels of insight that helps make for a successful story.

For us to care for the protagonist, for example, he must be sympathetic. We wouldn’t give much of a damn for Hitler, now would we?

For us to be drawn into the story itself, the character must also be in serious trouble.

Further, this trouble can not remain static. That would render it boring. For us to stay interested, the tension needs to increase and the problem needs to worsen.

You get the idea.

Hollywood story structure, then, lays out a set of events involving a sympathetic character facing an almost insurmountable problem in a way that conspires to keep the audience engrossed in the story.

So there you have it. Three sentences, taken from Mr. Meredith, that sum up the structure of a commercially viable story to get you started on that next Hollywood screenplay.

Summary

Hollywood story structure refers to interconnected events about a sympathetic character facing problems that keep the audience engrossed in the story.

Novels Films Games.

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Novels, films, games: How could reading compete with the visceral pleasures of big-budget, special-effects-driven films, or the massive growth of computer games that have so captivated our youth?

Yet, the truth is that far from novels, films, games and the like existing in a state of war, creatively, they exist in a state of symbiosis, feeding off each other.

I think this is set to continue in the foreseeable future.

Consider the various skills of the novelist: Philosopher, visionary, psychologist, researcher, casting agent, actor, director, cinematographer, set builder, costume designer, scriptwriter, editor, sound recordist. Indeed, the novelist is the prime creator of the story world—albeit in the virtual sense.

At a time when big films require even bigger budgets, testing the potential success of a film by measuring the success of the novel upon which it is based is a relatively inexpensive way of taking out some insurance against failure—although, clearly, no guarantee against it, as the movie John Carter, based on Edgar Rice Burroughs’ Princess of Mars, clearly demonstrates.

The point remains, however, that if a novel has done well in the market place, the chances are that a well-made film might do the same. The film maker might then allow the world of the novel to inform the world of the film, although, clearly, adapting a screenplay from a novel is an art form in its own right—often, to the extent that little of that world, other than the bones of the story, remains the same. Even so, the novel does at least, act as a starting point for the film project.

Novels, films, games—the latter both in video and board formats, predate Amazon’s Kindle revolution and the resurgence of reading it inspired, but there were some who predicted the death of the novel as a viable form of entertainment.

In terms of benefit to the novel, people who have seen the film and enjoyed it might now read the novel on which the film is based. Sales of the Game of Thrones series sky-rocketed after the television series hit the screens.

Book-to-film/TV adaptations, such as The Level, often go hand in hand with conversations about the relative worth of one rendition over the other. “The book was so much better than the film,” or vice versa—good publicity for all concerned, which helps to boost sales of the appropriate medium.

As an aside, I might mention that in my classes on screenwriting, I sometimes encourage my students to write their screenplays as novellas, or short stories, first. This encourages them to explore their characters’ actions through the inner voice—something the novel, novella and short story do well. This shifts focus to character motives and goals and results in character action that is more authentic and believable, making for better screenplays.

Summary

Novels, films, games and short story anthologies often function in a state of symbiosis, testing and popularising the story through different media.

Stavros Halvatzis Ph.D.

"Promoting writing excellence."

Tag Archives: novel

Creative Writing — Art and Craft

“A study of creative writing that lacks awareness of the layers that make up the craft is like a rudderless ship loaded with treasure but destined to meander endlessly at sea.”

New Story Ideas — how to find them

“New story ideas are all around us. We just have to know how to spot them.”

Planning your story

Story Planning

The Anatomy of Character Motivation

”A story cannot stand without convincing character motivation.”

Coincidence in Stories

In a story, the reader or audience expects material, especially coincidence, to be adroitly planned and crafted. Casual, haphazard coincidences are viewed for what they are: lazy writing.

Story Questions: What are they?

Nine story questions that will help you write a better story:

How Long to Write Each Day?

When I write a new novel or novella, I generally won’t stop working unless I complete the chapter I’m working on. The chapters of my novels tend to be short, so the task isn’t that daunting.

The Role of the Archetype in Stories

Identity the function of each character archetype to see if it is functioning correctly in your story.

Hollywood Story Structure

The Hollywood Structure in a Nutshell

Hollywood story structure, then, lays out a set of events involving a sympathetic character facing an almost insurmountable problem in a way that conspires to keep the audience engrossed in the story.

Novels Films Games.

Novels, films, games—the latter both in video and board formats, predate Amazon’s Kindle revolution and the resurgence of reading it inspired, but there were some who predicted the death of the novel as a viable form of entertainment.